Customers of performing arts organisations: are subscribers different from nonsubscribers?
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Auteurs : Mark S. Johnson [États-Unis] ; Ellen Garbarino [États-Unis]Source :
- International Journal of Nonprofit and Voluntary Sector Marketing [ 1465-4520 ] ; 2001-02.
Abstract
The subscribing customers of performing arts organisations are an indispensable, but frequently maligned source of patronage for the arts. This paper reviews some of these criticisms in the arts literature and assesses previous research on subscribers. Audience studies of the customers of cultural organisations have generally focused on usage differences (eg nonusers, frequent users) rather than subscriber/nonsubscriber differences. Based on theories of relationship marketing, the paper describes how relational subscribers may differ from nonsubscribing customers who frequent the arts but are more transactional in their exchanges with the cultural organisation. The results of a survey of subscribing and nonsubscribing customers of a repertory theatre company are presented to show differences between these two types of customer. Subscribers have higher levels of satisfaction, trust and commitment, and have more positive intentions of supporting and donating to the organisation. The arts patronage goals of subscribers are more congruent with the goals of the cultural organisation. Subscribers are more satisfied with familiar than with famous performers, and are comfortable with diversity in the choice of repertoire. Other factors examined include differences in overall involvement with the category of theatre, perceptions of risk and value, use of information sources, and reasons why some customers choose not to subscribe. The paper concludes with discussion of the importance of relationship marketing and subscribing customers for the performing arts organisation. Copyright © 2001 Henry Stewart Publications
Url:
DOI: 10.1002/nvsm.134
Affiliations:
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Sect. Mark.</title><idno type="ISSN">1465-4520</idno><idno type="eISSN">1479-103X</idno><imprint><publisher>John Wiley & Sons, Ltd.</publisher><pubPlace>Chichester, UK</pubPlace><date type="published" when="2001-02">2001-02</date><biblScope unit="volume">6</biblScope><biblScope unit="issue">1</biblScope><biblScope unit="page" from="61">61</biblScope><biblScope unit="page" to="77">77</biblScope></imprint><idno type="ISSN">1465-4520</idno></series><idno type="istex">C2609DF26FD42160871CADDCEA0AA0436C4014D3</idno><idno type="DOI">10.1002/nvsm.134</idno><idno type="ArticleID">NVSM134</idno></biblStruct></sourceDesc><seriesStmt><idno type="ISSN">1465-4520</idno></seriesStmt></fileDesc><profileDesc><textClass></textClass><langUsage><language ident="en">en</language></langUsage></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">The subscribing customers of performing arts organisations are an indispensable, but frequently maligned source of patronage for the arts. This paper reviews some of these criticisms in the arts literature and assesses previous research on subscribers. Audience studies of the customers of cultural organisations have generally focused on usage differences (eg nonusers, frequent users) rather than subscriber/nonsubscriber differences. Based on theories of relationship marketing, the paper describes how relational subscribers may differ from nonsubscribing customers who frequent the arts but are more transactional in their exchanges with the cultural organisation. The results of a survey of subscribing and nonsubscribing customers of a repertory theatre company are presented to show differences between these two types of customer. Subscribers have higher levels of satisfaction, trust and commitment, and have more positive intentions of supporting and donating to the organisation. The arts patronage goals of subscribers are more congruent with the goals of the cultural organisation. Subscribers are more satisfied with familiar than with famous performers, and are comfortable with diversity in the choice of repertoire. Other factors examined include differences in overall involvement with the category of theatre, perceptions of risk and value, use of information sources, and reasons why some customers choose not to subscribe. The paper concludes with discussion of the importance of relationship marketing and subscribing customers for the performing arts organisation. Copyright © 2001 Henry Stewart Publications</div></front></TEI><affiliations><list><country><li>États-Unis</li></country><region><li>New Jersey</li></region></list><tree><country name="États-Unis"><region name="New Jersey"><name sortKey="Johnson, Mark S" sort="Johnson, Mark S" uniqKey="Johnson M" first="Mark S." last="Johnson">Mark S. Johnson</name></region><name sortKey="Garbarino, Ellen" sort="Garbarino, Ellen" uniqKey="Garbarino E" first="Ellen" last="Garbarino">Ellen Garbarino</name></country></tree></affiliations></record>Pour manipuler ce document sous Unix (Dilib)
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